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REVIEW: Image Theater’s ‘Lost Cellphone Weekend’ puts an amusing noir spin on a familiar addiction

Posted on February 8 by The Sleepless Critic

Existing without a cell phone is a tricky business. However, unplugging for a weekend shouldn’t be impossible.

However, it is for many people. There are those who have their whole lives tied up on their phone from bank accounts to personal history while others have an unshakable habit of constantly finding comfort in that tiny screen. A cellular phone is the scientific term, but is it really such a stretch that is referred to as a cell phone? People can be confined to its gaze.

Contemplatively directed by Jerry Bisantz with lighthearted music direction by Ian Chin, Image Theater presents Steve Gilbane’s Lost Cell Phone Weekend, a satirical new musical that continues live and in person at the Richard and Nancy Donahue Family Academic Art Center at Middlesex Community College in Lowell, Massachusetts through Saturday, February 10. The show is 100 minutes with no intermission. Click here for more information and for tickets.

Ken Meehan in ‘Lost Cellphone Weekend’ Photo by Britton Boughner

Projections operator John Cipolaro provides the clean and modern set which includes a busy office, bedroom and street while implementing a few carefully placed set pieces such a multitasking bar cabinet, tables, and chairs. Sound operator Mike Flynn sets the tone with a lively and suspenseful score while Music Director Ian Chin directs an intimate onstage orchestra for the dynamic soundtrack.

Ken Meehan, Casey Moore, and Diane Milesky Meehan in ‘Lost Cellphone Weekend’ Photo by Britton Boughner

Based loosely on The Lost Weekend starring Ray Milland and part metadrama, Lost Cell Phone Weekend takes on a vintage noir vibe, but also stands as a light and humorous cautionary tale that focuses on ad executive Don and his girlfriend Helen who embark on a weekend away to a Vermont Bed and Breakfast. Unbeknownst to Don, Helen intends to have a wireless weekend without a cell phone in sight. You bet antics ensue and discoveries are made about this little weekend that no one could have expected.

Ken Meehan as Don Birnham, who may resemble the famous other Don from Mad Men, delivers a charismatic blend of old school charm and quick comedic timing embellished by Gilbane’s quip-laden script. Meehan’s fast talking sentimentality over a cell phone is over the top and yet curiously relatable. Wild eyes in a suit, Meehan prowls about the area under a suave façade zeroed in on the one thing that will keep him Connected, which is a particularly catchy number. Diane Milesky Meehan as Don’s romantic and sensible fiancée hopes this little getaway will rekindle their relationship. They share some fun chemistry, especially knowing that Ken and Diane are married to each other in real life. Diane goes wonderfully rogue as she articulates her feelings with the playful ballad, Look at Me.

Phil Thompson and David Hansen in ‘Lost Cell Phone Weekend’ Photo by Britton Boughner

Phil Thompson is a natural as tough and candid bartender Nat. Tall and lanky with a mix of subtle intimidation and mischievousness bearing a passing resemblance to Clint Eastwood, Thompson as Nat creates a doomed path for the haunting number, The Downfall of Man.

Casey Moore and David Hansen take on a few roles, but Moore is noteworthy as phone whiz Gloria in a red dress and Hansen as a mysterious and silly stranger claiming to be a very busy person. The cast later puts things into skewed perspective on this resonating topic with the striking number, A Little Poison.

The cast of ‘Lost Cellphone Weekend’ Photo by Christian De Rezendes

Lost Cellphone Weekend is an amusing and light musical comedy experience with vintage flair that comments on that pesky little cell phone habit but beware! It may challenge you to discover this big beautiful world and those dear to you more often.

Contemplatively directed by Jerry Bisantz with lighthearted music direction by Ian Chin, Image Theater presents Lost Cell Phone Weekend, a satirical new musical that continues live and in person at the Richard and Nancy Donahue Family Academic Art Center at Middlesex Community College in Lowell, Massachusetts through Saturday, February 10. The show is 100 minutes with no intermission. Click here for more information and for tickets.

REVIEW: Company One Theatre with The Theater Offensive explores the power of friendship and an absorbing mystery with ‘The Interrobangers’

Posted on February 7 by The Sleepless Critic

Small town Foggy Bluffs, New York has things that bump in the night, but can a group of young sleuths solve the case?

With compelling direction by Josh Glenn-Kayden, Company One Theatre in partnership with The Theater Offensive and the Boston Public Library presents The Interrobangers, a new play by M Sloth Levine live and in person at the Central Branch of the Boston Public Library through February 24. The productions is free with pay what you want tickets and action is not limited to the stage. The Interrobangers is recommended for ages 13 and up. Click here for more information and for tickets.

Schanaya Barrows, Chris Everett, Anderson Stinson, III, Jenine Florence Jacinto, and Jay Connolly in ‘The Interrobangers’ Photo by Erin Crowley

Quaint, old towns can have such history including spooky legends, myths, and strange occurrences. Foggy Bluffs, New York is no exception but here also lies a big secret beneath its quiet façade. Accompanied by an adorable dog named Hoover, childhood friends Zodiac, Hank, Luna, and Dani must band together to uncover just what this little town has been hiding.

Founded in 1691, set designer Danielle DeLaFuente with Projections Designer Maria Servellon has carved out Foggy Bluffs, an impressive and realistic fictional town with rolling fog, haunting landscapes, and lively and colorful hangouts such as the Jackalope, Flatwoods Pizza, and Roswell’s Thrift n’ Find which is complete with a wide selection of authentic Foggy Bluffs souvenirs. The occasional grainy vintage town video footage is also a real treat. Lighting designer Elmer Martinez with sound designer Anna Drummond keeps the exciting pace of its interspersed friendly and eerie lighting as Drummond delivers a catchy and funky soundtrack.

Anderson Stinson, III and Jay Connolly in ‘The Interrobangers’

Taking place sometime in the 80s, the production has the earmarks of a Scooby-Doo vibe and it is amazing to observe the overall zany, spooky, and thoughtful tone including the making of a familiar van. E. Rosser’s trendy and multihued costume design highlights each character’s distinct personalities. Even during its comedic moments though, it tackles the angst, confusion, pressure to be perfect, identity, peer pressure, acceptance, trauma and other serious topics kids can experience growing up. An interrobanger is described as a bundle of emotions wrapped up into one word and suitably describes the show that delivers light and reflection in a unique manner.

Jenine Florence Jacinto, Anderson Stinson III, Schanaya Barrows, and Jay Connolly in ‘The Interrobangers’ Photo by Erin Crowley

It delves into the nature of friendship from a dynamic cast who share a warm and engaging rapport. Friendship as children grow up that may sometimes mean growing apart or those rare friends that even if time has passed, they can still find their groove. How a class president portrayed by Schanaya Barrows as Dani, a timid yet brilliant student depicted by Jenine Florence Jacinto as Luna, a fascinating and troubled bohemian portrayed by Anderson Stinson III as Zodiac with Jupiter Lê in a remarkable depiction of Zodiac’s energetic and empathetic dog Hoover, and popular jock depicted by Jay Connolly as Hank form a mischievous group that all might have more in common than they realize.

Anderson Stinson III and Jupiter Lê in ‘The Interrobangers Photo by Erin Crowley

Each character offers engaging and nuanced performances, especially Stinson as Zodiac who movingly depicts what it is like to struggle with issues that cannot easily be explained and still remain an open, inquisitive and loving person. In a gray suit and aviator sunglasses, Alex Jacobs is a hypnotic force as the mysterious Mr. Dahl to show that even a little town like Foggy Bluffs always has a mystery to be solved.

REVIEW: Anything goes in Ryan Landry’s ‘The Rocky Menorah Christmas Show’

Posted on January 3 by The Sleepless Critic

Three chrome microphones, two slaying reindeer and one Mrs. Grinchley describes just a fraction of Ryan Landry’s wild tale as The Gold Dust Orphans presented The Rocky Menorah Christmas Show which recently ended its run on December 23 live and in person at the Iron Wolf Theatre at the Lithuanian Citizens Association in South Boston, Massachusetts. This vintage-style Rocky Horror musical parody was strictly for adults containing graphic nudity and is 90 minutes with one intermission. Click here for more information and the full advisory.

From ugly holiday sweaters to antler ears to twinkling light necklaces to candy cane shirts, it was a festive and dynamic crowd that attended The Rocky Horror Menorah Christmas Show. Refreshments and merchandise were available at the theatre and envelopes were taped to the back of each seat for donations.

TURN AROUND: Taryn Lane as Janet and Eric McGowan as Brad, Briana Scafidi, Alex Davis, Kaedon Gray, and Spookey as the Snow Cone Dancers Photo by Michael von Redlich

The Gold Dust Orphans are known for delivering their own take on vintage films indicated by the retro black and white tube TV which illustrated each theme that was happening onstage through various film montages from Bambi to The Shining. This is The Rocky Horror Picture Show with a holiday twist, but do not expect to hear the songs known from the popular film. Though the story’s characters, a portion of the costumes, and set up are similar which included the signature glittering lips, A Rocky Menorah Christmas Show featured original music with a jingle bell twist by Tad McKittrick and Tim Lawton parodying a number of popular songs by Patti Smith, David Bowie, Meatloaf, Bonnie Tyler, Taylor Dayne, Joe Cocker and the Go-Gos.

Welcome comedic local references varied from quips about North Shore Massachusetts accents to local landmarks to host puppets ‘GBH’s Jim Braude and Margery Eagan bringing clever humor to their signature banter. Additionally, The Brookline Sisters, a vintage trio of glittering backup singers in red, green and yellow composed of Tad McKittrick, Lizette Morris and Gina Carmella, acted as commentators and semi-narrators throughout this production.

To be clear, never been a fan of The Rocky Horror Picture Show in any of its various forms. After several attempts, still not a fan. Rocky Horror Picture Show is considered a cult classic, but in the Tim Curry-iness of it all, Clue is the preferred cult classic in this critic’s book.

BRAD&JANET: Eric McGowan as Brad Keebler and Taryn Lane as Janet Winky Photos by Michael von Redlich

Sure, The Rocky Horror Picture Show 1975 film was risqué and banked on shock value not particularly relevant to the story and this show is similar in that regard. The Rocky Menorah Christmas Show focuses on two Christian elves decked out in fluffy pink and blue that spring a flat on their sled and their only hope is to get help at a mysterious and ice laden castle. Janet, depicted by Taryn Lane, is an insufferable, demanding, melodramatic, and superstitious know-it-all while Brad, portrayed by Eric McGowan, is a henpecked, timid, and dimwitted follower.

Ryan Landry as Mrs. Grinchley dons convincing green makeup and depicts the mastermind of this particular operation accompanied by ghoulish companions Kiki Samko as maid Fuchsia and Joey Pelletier as Butler Gift Wrap. Though at first this Grinch can be a mean one, Murphy’s Grinchley is a candid and bawdy creature that runs the moral compass of this zany universe. Political and religious ribbings and commentary run as amok as this lusty and at times darkly humorous tale takes shape.

GRINCHLEY: Kaedon Gray and Briana Scafidi as the Snow Cone Dancers, Ryan Landry as Mrs. Grinchley Photo by Michael von Redlich

Directed by Kiki Samko and choregraphed by Briana Scafidi, the cast collectively delivered strong vocals and are skilled dancers especially in the athleticism and impressive stunts performed by Spookey in a Speedo and sunglasses featured in 20^th Century Boy. This semi-immersive and interactive show occasionally breaks the 4^th wall and the characters sometimes are not limited to the stage.

FUCHSIA & GIFTWRAP: Kiki Samko as Fuchsia and Joey Pelletier as Gift Wrap Photo by Michael von Redlich

The Rocky Menorah Christmas Show is fast paced, but especially in the second half, starts to lose focus and hits a fork in the road in more ways than one. From a dirty Santa to blow up astronauts to demons to ghouls to tap dancing reindeer to a blow up yellow monster, anything goes and this cast does not leave much to the imagination. While the show does not seem to take itself seriously, when it does toward the end, its strong message seems a strange extra in this wild parody.

The Gold Dust Orphans presented The Rocky Menorah Christmas Show which recently ended its run on December 23 live and in person at the Iron Wolf Theatre at the Lithuanian Citizens Association in South Boston, Massachusetts. This vintage-style Rocky Horror musical parody was strictly for adults containing graphic nudity and is 90 minutes with one intermission. Click here for more information and the full advisory.

REVIEW: Toting brilliant performances, Theater UnCorked’s ‘Who’s Afraid of Virginia Woolf?’ a twisty, no holds barred stunner

Posted on December 13 by The Sleepless Critic

George and Martha are unhappy.

As they say, nothing good happens after 2 a.m. In the early morning hours in 1961, George and Martha arrive home from a faculty party, but their evening is far from over. Theater UnCorked offered an up close and personal peek into the brewing chaos of their living room as astonishing events begin to unfold on the grounds of this small New England college.

Nimbly directed by Ben Delatizky, Theater UnCorked presented Edward Albee’s Tony and Pulitzer Prize-winning drama Who’s Afraid of Virginia Woolf for one weekend only from December 6-10 live and in person at the BCA Plaza Black Box Theatre in Boston, Massachusetts. This show is divided in three parts, is a meaty 2 hours and 30 minutes with two intermissions, and is appropriate for mature audiences. Click here more information and for more on Theater UnCorked’s upcoming performances.

The cast of Theater UnCorked’s ‘Whos Afraid of Virginia Woolf’ Photo Credit: Gary Ng

Who’s Afraid of Virginia Woolf was also famously adapted into a 1966 Academy Award-winning motion picture starring powerhouse couple Elizabeth Taylor and Richard Burton as well as Sandy Dennis and George Segal. While all four actors were nominated for Academy Awards, only Taylor and Dennis won for Best Actress and Best Supporting Actress.

The show opens with Martha dramatically recalling one famous Bette Davis quote, but another Bette Davis quote, ‘Fasten your seatbelts! It’s going to be a bumpy night!’ might be more accurate. Her husband, George is not amused.

Each member of this small cast depicts their characters with searing finesse. Edward Albee’s renowned and controversial script adds a darkly comedic tone to these multifaceted characters and the events that follow. At times, the show is sympathetically funny and at others, one cannot help but laugh nervously at the growing tension. This moving, complex, and raw production successfully hinges on Albee’s meticulous pacing and critical chemistry between each of these dynamic characters.

Brooks Reeves as George and Shana Dirik as Martha in Theater Uncorked’s ‘Who’s Afraid of Virginia Woolf’ Photo credit: Leonard Chasse

Without a bad seat in this intimate theatre, the audience was nearly immersed in the action onstage. Mike Mcteague’s horn-infused sound design maintains a foreboding tension and melancholy between each scene while Sehnaz (Shana) Dirik’s scholarly and sophisticated retro set and props include a wet bar, large bookcases, globe, couch and dark wooded vintage style end tables with ashtrays seemingly right out of the 60s. Popular albums of the era and turntable are on display and a particularly notable Sinatra album, My Way is cheekily front and center. Even the doorbell has a vintage and nostalgic chime. From darkly bold to flowered pastels, Richard Itczak’s multicolor costume design accentuates each character’s unfolding disposition.

The 60’s set of Theater UnCorked’s ‘Who’s Afraid of Virginia Woolf’ Photo Credit Gary Ng

Who’s Afraid of Virginia Woolf is lengthy, but anything but boring. These are highly intelligent and substantial individuals who share cerebral conversations, each with a veiled agenda. With a condescending cackle, Sehnaz (Shana) Dirik portrays vivacious but worn Martha. Dirik has remarkable chemistry with her perceptive and calculating Associate Professor husband, George, depicted by Brooks Reeves. Reeves has a talent for bringing to life complicated characters with a dark underbelly and he and Martha teeter from malevolent to bickering to seeming adoration at the drop of a hat. Brooks and Dirik deliver powerhouse performances because Albee’s script invites no less. The physicality, the endurance, and the sheer energy that it takes to capture these characters can be exhausting and yet, Brooks and Dirik are more than up to the challenge. At one point, Reeves and Dirik are so invested in the sheer magnitude of this twisty production that one cannot help but be moved by the tracks of Reeves’s tears and Dirik’s wild yearning.

Brooks Reeves as George Shana Dirik as Martha Anthony Rinaldi as Nick and Brooke Casanova as Honey in Theater Uncorked’s ‘Whos Afraid of Virginia Woolf’ Photo credit: Gary Ng

Anthony Rinaldi portrays affable department professor Nick while Brooke Casanova depicts naïve Honey, a polite married couple from the Midwest. Both comically reflect what the audience might be thinking at first and at one point, Casanova as Honey is literally clutching her pearls. They make an amiable and fascinating pair as their motivations gradually come to light in unexpected ways.

Who’s Afraid of Virginia Woolf has many layers and one cannot think of how dangerous it can be to know someone all too well. George and Martha have been together for 23 years and they know exactly which button to push for what they want. Some marriages do not always have the other’s best interest at heart and this coupling for the ages.

REVIEW: Well suited for the holiday season, The Huntington’s ‘The Heart Sellers’ a true Friendsgiving

Posted on December 12 by The Sleepless Critic

For some, the holidays can be the most wonderful time of the year and for others, the loneliest. What good fortune to find someone to make the holidays brighter.

Heartwarmingly and wistfully directed by May Adrales with Jenny S. Lee, The Huntington presents Lloyd Suh’s The Heart Sellers live and in person at the Calderwood Pavilion in Boston, Massachusetts through December 23. This charming show is 85 minutes with no intermission. Click here for more information and for tickets.

Judy Song, Jenna Agbayani; photo by T Charles Erickson

It seems like destiny that Luna and Jane should meet. On Thanksgiving Day 1973, imaginative Korean chatterbox Luna, exuberantly portrayed with an infectious smile by Jenna Agbayani, invites quiet Filipino Jane, depicted with reserved and humorous wit by Judy Song, to her apartment shortly after meeting that day. Not only do they happen to be wearing the same colorful coat from Kmart, but they also see a familiarity in each other that they cannot quite place.

Agbayani as Luna warmly exclaims, ‘We have nothing so it is not a mess!’ Scenic and costume designer Junghyun Georgia Lee’s modest one bedroom studio apartment impressively rewinds the clock to the 70s featuring wood paneling, a burnt orange couch, retro wallpaper and dated appliances. The apartment has quite a realistic and detailed appearance right down to the dingy surface on the sliding glass doors. Lee’s retro costumes add cheerful splashes of color to the setting.

Jenna Agbayani, Judy Song; photo by T Charles Erickson

This dynamite duo has crackling and good humored chemistry that make the show a treat. It is not only in what they say, but the way they communicate without words. Agbayani and Song exhibit sharp physical comic timing in an overwhelmed glance, awkward mannerisms, and relatable reactions to the other’s way of life. Song as Jane is exceedingly polite and timid, but her expressions often give away what she really thinks.

Both are immigrant housewives who have never heard of Thanksgiving before and it is endearing to watch them share a genuine interest in each other’s stories, dreams, memories, how they are adjusting to life away from home, and in their fervent attempts to celebrate together.

With more than a generous helping of heart and humor, The Heart Sellers also comes with a great deal of realizations and reflections questioning where these two women belong in their new world during a pivotal time. They are important questions still addressed today.

The Heartsellers stands as a lively, wonderful and worthy visit centered on friendship. Bring a friend, a date, or a loved one because this is one story meant to be shared.

REVIEW: Company Theatre delivers an inspiring and ever enchanting Rodgers and Hammerstein’s family-friendly musical, ‘Cinderella’

Posted on December 10 by The Sleepless Critic

The Company Theatre proves that magic does not just come from a wand in Rodgers and Hammerstein’s Cinderella.

Boasting more magic than other popular adaptations, Cinderella brings to light the virtues of being humble, loyal, generous, and yearning to make a difference in the world. What is wonderful about this adaptation is Rodgers and Hammerstein invites the audience to root for the Prince as much as Cinderella herself.

Resourcefully co-directed by Zoe Bradford and Sally Ashton Forrest with lively musical direction by Steve Bass, The Company Theatre continues Rodgers and Hammerstein’s Cinderella live and in person at the Company Theatre in Norwell, Massachusetts through December 17. Based on the book by Oscar Hammerstein II and a new book by Douglas Carter Beane, this family-friendly musical is approximately two hours with one intermission and appealing for all ages. Click here for more information and for tickets.

Cinderella’s Glass Slipper Image by Zoe Bradford

The Company Theatre always has a way to make the holidays a bit brighter with their December show. Whether bathed in starlight or snow, Ryan Barrow’s moving set fluctuates from a modest village landscape including towering forest, rustic well and a vine crept stone wall to glimmering and fanciful surroundings featuring a large golden clock, a sophisticated marble staircase, pristine white florals, crystal chandeliers, and a gold embroidered living room. Dean Palmer Jr’s warm lighting and Ellie De Lucia’s radiant costume design eloquently depicts the musical’s mid to late 1800s setting through illuminating candlesticks and lanterns, opulent gowns, and gold embroidered suits and vests.

Melissa Paz as Ella in Company Theatre’s ‘Cinderella’ Photo by Zoe Bradford

Rodgers and Hammerstein create a robust fairy tale with Cinderella that features characters fleshed out much more soundly than other adaptations. The only adaptation that may come close is the imaginative 1998 film based on the Charles Perrault fairytale, Ever After: A Cinderella Story starring Drew Barrymore.

Cinderella features an exuberant cast in this smart and warmhearted fairytale. Prince Topher, portrayed with shrewd charisma by Sean Donnelly, is valiant, humble, good humored, and protective, proving his virtue in every aspect of his performance. What is wonderful about these characters is it is not just understood who they are. They are not stereotypes, but consistently showing their mettle by growing and transforming in significant and unpredictable ways.

Emily Lyons as Charlotte, Melissa Carubia as Gabrielle, and Melissa Paz as Ella in Company Theatre’s ‘Cinderella’ Photo by Zoe Bradford

Could an ugly stepsister have her own love interest? In this story, anything is possible. Rather than a rehash or a contemporary twist, this twist is rather timeless. It has much more to offer than the often simplistic style of Cinderella’s tale.

Cinderella focuses on a humble young girl who is a servant to her wicked stepmother and ugly stepsisters. However, when the kingdom announces a masked ball for Prince Topher to find a wife in order to become king, every maiden in the kingdom is clamoring for an invitation.

Donnelly’s Prince Topher is handsome, generous, and a practical dreamer that protects his kingdom from any threat that comes its way. However, he also questions his place in the world, knowing he has much more to offer than his lot in life as King as expressed insightfully in the upbeat Me, Who I Am in a compelling duet with Melissa Paz as Cinderella. Both also shine for the lyrically rich number Ten Minutes Ago. Donnelly depicts Topher with dignity and sincerity, making it easy to root for such a character on his own virtues. He shares some complex scenes with Christopher Hagberg as Sebastian who spends his time raising the Prince and overseeing the kingdom. Status conscience and mysterious, Sebastian provides a unique vision of the Prince’s future.

Wearing a kerchief and simple blue skirt, Ella, who is nicknamed Cinderella, is witty, selfless and compassionate. A bright and soaring soprano, Paz as Cinderella works without complaining and tolerating every cruelty she encounters without repayment. She is also obedient under the most ridiculous of demands. She befriends adorable and comical puppet woodland creatures who bop to the music, sing along, and every once in awhile, scene steal in their own right.

Emily Lyons as Charlotte, Vickie Gerard-Culligan as Madame, and Melissa Carubia as Gabrielle in Company Theatre’s ‘Cinderella’ Photo by Zoe Bradford

Cinderella’s ugly stepsisters are not a pair of braying bookends, as some adaptations suggest. They are individuals with their own goals in mind. Melissa Carubia portrays awkward, bashful yet clever Gabrielle and Emily Lyons depicts narcissistic and brutally frank Charlotte. Both have excellent comic timing. Lyons shines in an array of humorous quips for the animated Stepsister’s Lament. Obsessed with status and wealth, Vickie Gerard-Culligan as status hungry Madame is often flagrant and nonchalantly cruel as she wraps herself in her own little world. Gerard-Culligan reveals a fascinating side to Madame briefly in a delightful rendition of Lovely Night with Gabrielle, Charlotte, and Cinderella, but is always focused on exactly what she wants.

Vickie Gerard-Culligan as Madame and Melissa Paz as Ella in Company Theatre’s ‘Cinderella’ Photo by Zoe Bradford

Ryan Rappaport delivers a zealous performance as purposeful revolutionist Jean-Michel, but could not help but think of him at times as a character missing from Les Miserables. He is determined to change the world and every change starts at home. With playful and powerful vocals, Joey Thordarson is a riot as distinguished town crier Lord Pinkelton, gleeful in his important work.

Always amazing Dru Daniels as Marie is much more than she seems, delivering inspiring showstopper There’s Music in You and the catchy signature tune, It’s Possible.

Dru Daniels and Melissa Paz in Company Theatre’s ‘Cinderella’ Photo by Zoe Bradford

Rodgers and Hammerstein’s Cinderella offers timeless and rich commentary on this classic tale with a beautiful and important message about believing in the impossible. Even adults may shed a happy tear or two.

REVIEW: Exiled Theatre’s disquieting and fuzzy trilogy thriller ‘Hauntings I Have Lived Through’

Posted on November 27 by The Sleepless Critic

Three lost women. One embraces it, one denies it, and one leans into it.

In their first show since the pandemic, Exiled Theatre presented Hauntings I Have Lived Through, a trilogy thriller that took place live and in person at Boston Playwrights Theatre in Boston, Massachusetts through Sunday, November 19. Written and directed by James Wilkinson, the show was 80 minutes without an intermission. Click here for more information on future performances.

From L to R: Laura Crook Waxdal, Morganna Becker, and Alex Alexander in Exiled Theatre’s ‘Hauntings I Have Lived Through’ Photo credit to James Wikinson

The set, which included a water pitcher and empty glass on a wooden desk sitting on top of a colorful Egyptian rug, is simply staged but each character handles the set differently. The harp-laden eerie music fits the ominous aura between scenes.

Hauntings I Have Lived Through may hint at a collection of ghost stories especially since it was delivered just after Halloween, but this is not entirely the case. Three separate women recall enduring unique types of trauma. However, coping with occasional moments of dark humor, their reactions are relatable even in the darkest of circumstances.

In The Hanging Tree, an increasing anxious and somewhat disheveled woman approaches the desk. She admits to coming off a tough breakup, though the breakup is mostly incidental to this woman’s real story. The real story develops from an offhanded remark about a mysterious Sycamore tree in her woodsy backyard of a house she is becoming increasingly uncomfortable residing in. With darting eyes, increasingly shaking hands, and a pale and stricken expression as she utters the anxiety laden yet humorous remark, ‘Pause for effect’ is effective as a rare light in Alex Alexander’s character’s bleak testimony before veering into an unpredictable direction.

Alex Alexander in Exiled Theatre’s ‘Hauntings I Have Lived Through’ Photo credit to James Wilkinson

Morganna Becker’s character has been through a lot, but her frank, sarcastic and chatty tone hints of denial as she recalls a macabre event in the show’s second part, Nora (All Over). This chapter is a bit muddled and at times difficult to follow, but there is no denying that this woman has also been through defining trauma. As Becker recounts her story as if incidentally recalling the difficulties of a typically tough day, there is a fear behind her engaging yet guarded demeanor. This story is particularly graphic and gory while Becker takes it in as if she is a spectator in her own life. Her subtle fear keeps her sympathetic as if she will at any minute grasp the gravity of what she has experienced.

Morganna Becker in Exiled Theatre’s ‘Hauntings I Have Lived Through’ Photo credit to James Wilkinson

The finale, The Dark Lady Gospels, delves into experienced trauma, but does not seem to belong with the other parts of the trilogy. Laura Crook Waxdal delivers a strong performance as a twisted evangelist, but this compassionate woman does not practice what she preaches. This part seems more parlor trick and diatribe than what could have been a meaty exploration into this complicated and abandoned woman’s character. Perhaps her practices are a veiled attempt to cope with trauma, but even so, what she preaches seems beside the point and bereft of hope. As a woman with a considerable amount to live for, it does not fit squarely into the show’s premise and gradually strays too far from its focus hinging more on fear than exploration.

Laura Crook Waxdal in Exiled Theatre’s ‘Hauntings I Have Lived Through’ Photo credit to James Wilkinson

Exiled Theatre presented Hauntings I Have Lived Through, a trilogy thriller that took place live and in person at Boston Playwrights Theatre in Boston, Massachusetts through Sunday, November 19. Written and directed by James Wilkinson, the show was 80 minutes without an intermission. Click here for more information on future performances.

REVIEW: The Wonder of ‘Phillis in Boston’ presented by Revolutionary Spaces

Posted on November 20 by The Sleepless Critic

What does a promising poet who is also a slave do to become a beacon of hope under seemingly impossible circumstances?

Anything she can and beyond.

Revolutionary Spaces presents original play ‘Phillis in Boston’ through December 3.

Based on a true story and in commemoration of the 250^th anniversary of the Boston Tea Party, Revolutionary Spaces presents Ade Solanke’s semi-immersive original play Phillis in Boston continuing at the historic Old South Meeting House in Boston, MA live and in person through December 3. With enlightening direction by Regge Life, this historical and educational drama runs 90 minutes with no intermission and without a bad seat in the house. Click here for more information and for tickets.

The world should know more about visionary, promising poet and slave Phillis Wheatley.

Phillis in Boston is simply staged surrounded by Old South Meeting House’s regal setting and embellishes Chloe Moore and Athena Parkman’s detailed and authentic colonial prewar costumes in lace, wool, and cotton. Phillis’s colorful and distinctive gown is a particular highlight.

Old South Meeting House setting of ‘Phillis in Boston’ Photo credit to Revolutionary Spaces

Set in late 1773, this groundbreaking, world premiere production delves into the lives of a group of dynamic individuals who set out to make an extraordinary difference at a pivotal time in history. Very likely taking place at the historic Old South Meeting House which is also celebrating its 300^th anniversary, Adreyanua Jean-Louis as Phillis, Bobby Cius as John Peters, Joshua Olumide as Prince Hall, and Serenity S’rae as Obour Tanner must ban together on a mission to be heard.

Adreyanua Jean-Louis as Phillis and Serenity S’rae in ‘Phillis in Boston’ Photo credit to Revolutionary Spaces

Named after a slave ship and at the center of this production is Phillis herself portrayed with optimistic integrity by Adreyanua Jean-Louis, Phillis in Boston offers a unique and heartfelt perspective of this courageous woman. In spite of her struggles, Jean-Louis as Phillis remains humble yet forward thinking with a constant vision of breaking through boundaries. Instantly likable and through powerful faith, Phillis sees that narrow path to success and ardently reaches for it. Not so sure is Phillis’s caring and genuinely loyal Rhode Island confidante Obour Tanner, delivered with an impressive mix of dry humor and solemn reason by Serenity S’rae. S’rae conveys some chilling and hard truths as she carefully counsels Phillis about pursuing this seemingly impossible dream. Intense and focused Prince Hall depicted charismatically by Joshua Olumide, and Bobby Cius as charming yet mysterious John Peters gradually reveal their own part in Phillis’s uncertain future.

Joshua Olumide as Prince Hall, Adreyanua Jean-Louis as Phillis and Serenity S’rae as Obour Tanner in ‘Phillis in Boston’ Photo credit to Revolutionary Spaces

While a show like Revolution’s Edge delivered immediate intensity, Phillis in Boston relies on a gradual and reassuring build, culminating in a powerful confrontation between Jean-Louis and Priscilla Manning as needy, grieving, stubborn and conflicted Susanna Wheatley. Jean-Louis’s nurturing nature towards Manning is multi-faceted but also enforced. The history of Jean-Louis and Manning’s complex connection comes to light in an enthralling, intense, and pivotal scene where both actresses are at their brightest. With Brendan F. Doyle’s versatile array of immersive sound effects and a notable version of Amazing Grace, it is difficult to imagine that Phillis of Boston could not have a significant effect on us all.

Bobby Cius, Serenity S’rae, Adreyanua Jean-Louis, and Joshua Olumide in ‘Phillis in Boston’ Photo credit to Revolutionary Spaces

Based on a true story and in commemoration of the 250^th anniversary of the Boston Tea Party, Revolutionary Spaces presents Ade Solanke’s semi-immersive original play Phillis in Boston continuing at the historic Old South Meeting House in Boston, MA live and in person through December 3. With enlightening direction by Regge Life, this historical drama runs 90 minutes with no intermission and without a bad seat in the house. Click here for more information and for tickets.

REVIEW: Boasting a superb and jovial cast, Boston Lyric Opera’s Boston-based ‘La Cenerentola (Cinderella)’ conjures practical magic

Posted on November 16 by The Sleepless Critic

This Cinderella keeps it local and conjures a bit more practical magic.

Stage directed with charm and finesse by Dawn M. Simmons and infused with Gioachino Rossini’s lively and whimsical music, Boston Lyric Opera presented Jacopo Ferretti’s Italian libretto La Cenerentola (Cinderella) live and in person at Emerson Cutler Majestic Theatre in Boston, MA for one weekend only through Sunday, November 12. Click here for more information and for a closer look at Boston Lyric Opera’s new season.

Move over glass slipper and fairy godmother and hello fashionistas and Amazon drivers. Cinderella is getting the city treatment with a few contemporary twists, but keeping its sparkling delivery and timeless moral message from a modern penthouse apartment overlooking the city of Boston.

ANGELINA (CECELIA HALL) MAKES HER ENTRANCE TO THE ROYAL BALL IN BOSTON LYRIC OPERA’S PRODUCTION OF LA CENERENTOLA (CINDERELLA) Photo by Nile Scott Studios

The Emerson Cutler Majestic Theatre’s ornate theatrical setting is so fitting for Jenna McFarland Lord’s sophisticated and elaborate set design featuring two towering lit lamp posts. From a pristine, lightly furnished penthouse apartment to a starlit, fantasy masquerade garden party embellished with vines chasing the walls, a wrought iron staircase, and twinkling lights, Lord builds up the fanciful spirit of this modern fairy tale.

La Cenerentola, spoken in Italian with English subtitles, is a spin of the traditional fairytale Cinderella and centers around an imaginative woman who lives with the Baron and his two daughters and must cater to their every whim. When Don Ramiro shows up at the Baron’s doorstep, change just might be in the air.

DON MAGNIFICO, (BRANDON CEDEL, L.) IS THE WICKED STEPFATHER TO TISBE (ALEXIS PEART, C.) AND DANA LYNNE VARGA IN BOSTON LYRIC OPERA’S PRODUCTION OF LA CENERENTOLA (CINDERELLA) Photo by Nile Scott Studios

However, some things haven’t changed in soprano Dana Lynne Varga as Clorinda and mezzo soprano Alexis Peart as Tisbe, Cinderella’s self-absorbed, scornful, and gold digging wicked stepsisters who can barely see beyond their mirrors (or in this case, their phones and selfie rings). The duo possesses certain regality in their bookend statures, if it was not for their disdain for others. Feathers, diamond encrusted bowties, crushed velvet, lace, and floral embroidery is just a portion of Trevor Bowen’s glittering, extravagant and fanciful costume design. Cecelia Hall as Angelina seems to simply float in her idyllic emerald gown. Don Magnifico, otherwise known as The Baron depicted with scene stealing glee by bass baritone Brandon Cedel, shares his daughters’ conceitedness decked out in rings, an earring, and carefully coiffed hair. Cedel waltzes around the apartment in self congratulatory bliss unless something or someone ruffles his flawless feathers. Though Cedel’s Baron does have a threatening side, Cedel spends much more time as a humorous ham as he flirts and shows off fun loving comic charm.

ANGELINA (CECELIA HALL) DREAMS OF A NEW LIFE FAR FROM WHERE SHE LIVES IN BOSTON LYRIC OPERA’S PRODUCTION OF LA CENERENTOLA (CINDERELLA) Photo by Nile Scott Studios

In suspenders and doo rag cap, mezzo soprano Cecelia Hall gracefully portrays modest, tactful, and compassionate Angelina with agile vocals, shining especially in the production’s quieter moments. A sidelong glance, demure blush, and a barely concealed impish smile and gaiety escape her while she tends to her endless household duties, especially in the charismatic presence of tenor Levy Sekgapane as Don Ramiro. Sekgapone’s dazzling vocals and captivating rapport with Hall make for some of the production’s most delightful moments and Ferretti’s libretto wisely delves further into Ramiro’s persona than other Cinderella productions.

CLORINDA AND TISBE (DANA LYNNE VARGA, LEFT AND ALEXIS PEART, RIGHT) ARE CHARMED BY DANDINI (LEVI HERNANDEZ), WHILE DON RAMIRO (LEVY SEKGAPANE, R) LOOKS ON IN BOSTON LYRIC OPERA’S PRODUCTION OF LA CENERENTOLA

Hall also shares a sweet camaraderie with bass baritone James Demler through a good deed as humble and quick witted Amazon driver and part narrator Alidoro. Both Demler and Levi Hernandez as Dandini are immediately likable from the start. Demler’s gravitas and commanding vocals deliver some wondrous surprises while baritone Hernandez’s soaring vocals as Dandini show they are much more than meet the eye.

Gioanchino Rossini’s urgent rhythms, quick pacing, and playful, melodic dialogues enchant while the lightning speed of some of the libretto demonstrate the collective and extraordinary skill of this engaging cast. With a few more refreshing twists and turns than in Cinderella’s traditional tale, Boston Lyric Opera’s La Cenerentola (Cinderella) embarks on a humorous and jovial journey while emphasizing the power of love and grace in all circumstances.

REVIEW: Hub Theatre Company of Boston’s ‘Book of Will’ is storytelling at its best

Posted on October 30 by The Sleepless Critic

‘Good stories make for good lives.’

Just one of the many insightful musings that Lauren Gunderson injects into The Book of Will which is a rollicking, meaty and glorious tribute to Shakespeare and storytelling. Get thee to The Book of Will!

Lauren Elias and the cast of Hub Theatre Company of Greater Boston’s ‘The Book of Will’ Photo by Hub Theatre Company of Boston

Directed exquisitely by Bryn Boice, Hub Theatre Company of Boston continues Lauren Gunderson’s The Book of Will live and in person at The Boston Center for the Arts through Sunday, November 12. The show is approximately two hours with one intermission and always, a pay what you can production. Not a bad seat in the house. Click here for more information and for tickets.

The show begins with a comedic flourish and keeps its energetic pacing throughout the production. It is three years after Shakespeare’s death and a group of men gather and contemplate Shakespeare’s genius as well as the butchery and liberties that some theatres have taken since to depict his work over a pint at a tap house next to the famous Globe Theatre in London. How to keep Shakespeare’s work alive the way it should be remembered?

Jessica Golden and the cast of Hub Theatre Company of Boston’s ‘The Book of Will’ Photo credit to Hub Theatre Company of Boston

The Book of Will offers commentary on many aspects of Shakespeare’s work and delivers some Shakespeare references and quotes passionately, but it is not necessary to be a Shakespeare fan to enjoy the humor and sheer love of the written word and theatre.

The famous skull and brethren in Hub Theatre Company of Boston’s ‘The Book of Will’ Photo credit to Hub Theatre Company of Boston

The cast has crackling chemistry with commanding as well as shrewd comedic timing. No one is afraid to go too far for a laugh or to capture meaningful moments. Some of the performers take on dual roles which will not be revealed here.

Jessica Golden and Cleveland Nicoll are an adorable young couple while Laura Rocklyn and Brendan O’Neill are powerful and wise as they deal with challenging aspects of their long term marriage. Rocklyn and O’Neill evoke a different form of endearing relationship. Rocklyn, Nicoll, and O’Neill later share a powerful and beautiful sequence, especially demonstrated by O’Neill, as Nicoll and O’Neil contemplate the meaning of love and life. Rocklyn is just one of many wise and wonderful female characters in this production.

Cleveland Nicoll’s shows off sharp comedic timing through his scene stealing expressions, eye rolls, stubbornness and outrage while Dev Lutra delivers a commanding and charismatic performance as Burbridge, the head of the King’s Men. John Blair also offers a fascinating performance as Poet Laureate and Shakespeare’s ‘frenemy’ Ben Johnson.

Hub Theatre Company of Boston’s ‘The Book of Will’ set Photo by Hub Theatre Company of Boston

Payton Tavares’s straightforward set design features a timely wooden half moon stage, two tables and surrounding stools with barrels in the background and enhanced by rope. Ellie De Lucia’s authentic Elizabethan era costumes feature gold trimmed vests and buttons, silky grand gowns, Venetian breeches, wingtip shoes, spectacles, corsets, peasant blouses with some rich colors and patterns.

What else is there to say but see this wonderful production that shall bring as much joy as it will stir the soul.